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20 2018 Apr

Chris Lebenzon, ACE to Participate in One on One Conversation at EditFest London Popular Editing Event Returns to BFI Southbank on 30 June 2018

EFL Logo 300pxChris Lebenzon, ACE, will be participating in a one-on-one conversation at American Cinema Editors’ EditFest London on 30 June.  The conversation, moderated by journalist Carolyn Giardina, will focus on his work over the course of a celebrated, nearly 40-year career.  EditFest London is set for BFI Southbank, returning to the UK for its 6th year in London and 5th at BFI. Lebenzon is a revered editor whose work over the course of more than 30 films has garnered Academy Award nominations and key industry honours from American Cinema Editors, Camerimage, Gold Derby, and Satellite Awards.

Chris Lebenzon, ACE

Chris Lebenzon, ACE

Lebenzon has worked with a wide variety of filmmakers and is known for his long-lasting collaborations with leading directors including Tim Burton, for whom he edited Sweeney Todd: The Demon Barber of Fleet Street, Miss Peregrine’s Home for Peculiar Children, Frankenweenie, Alice in Wonderland, Charlie & The Chocolate Factory, Ed Wood, Corpse Bride and Planet of the Apes, among others. Lebenzon also worked closely with the late Tony Scott, editing Top Gun (Oscar nominated), Beverly Hills Cop II, Crimson Tide (Oscar nominated), Enemy of the State, and others. He has a long association with Jerry Bruckheimer which led to his collaboration with Michael Bay, for whom he edited Armageddon and Pearl Harbor. Lebenzon has guided a number of other films including Maleficent, Weird Science and Con Air. He is currently working in London, with Tim Burton once again, on Dumbo.

“Part of the joy of editing is the deeply engaging, and in my case long-lasting, collaborations with talented directors. I have been able to share the creative experience with people I consider incredibly gifted. Working with creative geniuses as diverse as Tony, Tim and Michael has kept me on my game and kept the fire under me to be working with this calibre of people. I look forward to spending time with you at EditFest. It’s a great way to meet aspiring and working editors and share time with them.”

As always, EditFest will feature panels comprised of the industry’s top editors, who generously share experiences and insights from their work on a variety of feature films, documentaries, and broadcast and streaming content. Presented by American Cinema Editors (ACE), EditFest offers a unique opportunity for attendees to engage with panelists and colleagues throughout the day, over lunch, and then during a lively post-event reception. EditFest was launched in Los Angeles in 2006.

EditFest takes place during one day at BFI Southbank. A complete schedule and panelists will be announced shortly. Tickets are on sale now with an early bird discount for those who sign up before 1 June. Early registration is encouraged as the event perennially sells out. Panels, box lunch, and a cocktail reception at the end of the day are included as well as the uncommon experience of mingling with the world’s top editors. EditFest LA will take place in Los Angeles on 25 August at the Walt Disney Studios.

ACE EditFest is presented with the generous support of sponsors, including Platinum Sponsor Blackmagic Design and Gold Sponsors Avid and Adobe. The Motion Picture Editors Guild is a supporter of EditFest. Proceeds go to the ACE Educational Center and are tax deductible.

For further information visit American Cinema Editors.

20 2018 Apr

Cine Gear Time!

The 23nd Annual Cine Gear Expo returns to the revered Paramount Studios on May 31-June 3, 2018. Free registration to attend this essential Hollywood event is now open. Cine Gear Expo 2018 offers over 300 exhibits (June 1-2) and dozens of complimentary seminars and panels covering filmmaking insights, techniques, and technology from top makers and content creators. Attendees can also enjoy the Cine Gear Film Series competitions and film screenings in Paramount’s state of the art theatres.

The festivities will launch with the engaging Student Film Series Competition on May 31st from 12:00pm to 6:00pm, featuring screenings from finalists in the Student Short, Indy Short, Commercial and Music Video categories. The final deadline to submit films is April 6, 2018. Submit online.

Visitors can get caught up on the latest trade secrets and tools when the exhibits open on Friday, June 1 from 12:00pm to 8:00pm and Saturday, June 2 from 10:00am to 5:00pm. An industry favorite, this event offers a casual Hollywood atmosphere where artists and makers can mingle with, folks from rental houses, guilds, associations, trade journals and more. The atmosphere is chill but the technology is the hottest in the world. It’s the perfect place to see tomorrow’s technology first hand, and share opinions and techniques.

For more about Cine Gear Expo and to see the full lineup of exhibitors, screenings, and seminars, visit cinegearexpo.com.

20 2018 Apr

2018 ASC Student Heritage Awards Open for Entry

Educators are encouraged to nominate exceptional work by their eligible cinematography students. This year’s two narrative awards are named in honor of ASC greats Gerald Hirschfeld and Sol Negrin. The documentary award honors Haskell Wexler, ASC.

The deadline for entry is noon on May 11.

The American Society of Cinematographers is pleased to invite educators to recommend eligible students for consideration in the 2018 ASC Student Heritage Awards competition. These awards are designed to inspire the next generation of cinematographers and to help them pursue their dreams. They also celebrate the memory of the Society’s most extraordinary members. Each year, the ASC Student Heritage Awards are re-named in honor of esteemed ASC members. (Details on the 2017 awards and winners here.)

Eligible students must be in undergraduate or graduate school or have graduated within the past year (please see Rules of Entry within each entry form linked below). A jury of ASC members will choose the winners. Nominations will be announced on September 3, 2018 and the winners will be revealed at the ASC Student Heritage Award celebration on Saturday, October 13, 2018 at the ASC Clubhouse in Hollywood.

The Student Awards committee chair is Isidore Mankofsky, ASC. The co-chair is David Darby, ASC.

Gerald Hirschfeld, ASC (Portrait by Owen Roizman, ASC)

Gerald Hirschfeld, ASC (Portrait by Owen Roizman, ASC)

This year’s ASC Student Undergraduate Award is named in honor of Gerald Hirschfeld, ASC. In the 1950s, Hirschfeld was one of the busiest cameraman in New York City. Among his crew were future ASC greats Owen Roizman and Gordon Willis. Hirschfeld’s reputation for being a precise, exacting perfectionist led to his first major feature assignment, shooting the Cold War drama Fail-Safe for director Sidney Lumet. He would go on to shoot some 40 feature films, including The IncidentGoodbye ColumbusCotton Comes to HarlemDiary of a Mad HousewifeYoung FrankensteinTwo Minute WarningThe World’s Greatest LoverThe Bell JarNeighborsMy Favorite Year and To Be or Not to Be. A natural educator, Hirschfeld penned numerous stories for American Cinematographer magazine, and later wrote the in-depth instructionals Image Control: Motion Picture and Video Camera Filters and Lab Techniques and The Hand Exposure Meter Book (with co-author Bob Shell). In 2007, Hirschfeld was honored with the ASC Presidents Award. (Entry form here.)

Sol Negrin, ASC (Portrait by Owen Roizman, ASC)

Sol Negrin, ASC (Portrait by Owen Roizman, ASC)

The ASC Student Graduate Award honors Sol Negrin, ASC. He was nominated for five Emmy Awards — three for his work on the detective drama Kojak, one for the telefilm The Last Tenant, and one for an episode of the series Baker’s Dozen. His cinematography in television commercials earned four Clio Awards. Negrin often shared his wealth of experience and expertise with students and aspiring filmmakers through mentorships, seminars, demonstrations and speaking engagements. In 2010, he was honored by the ASC with the Presidents Award, in recognition of not only his expertise behind the camera, but for being an ambassador of the art and craft of cinematography. (Entry form here.)

Haskell Wexler, ASC (Portrait by Douglas Kirkland)

Haskell Wexler, ASC (Portrait by Douglas Kirkland)

The ASC’s Student Documentary Award is named for Haskell Wexler, ASC. He won Academy Awards in 1966 for Who’s Afraid of Virginia Woolf? And in 1976 for Bound for Glory. He received additional nominations for One Flew Over the Cuckoo’s Nest (shared with Bill Butler, ASC), Matewan and Blaze. In 1969, Wexler wrote, directed and shot Medium Cool, which is studied by film students worldwide for its breakthrough cinéma vérité style. He began his career shooting documentaries and was a passionate non-fiction filmmaker throughout his life. He was also an active member of the ASC Board of Governors for many years. In 1992, Wexler was honored with the ASC Lifetime Achievement Award. (Entry form here.)

The deadline for entries is noon on May 11, 2018.

If you have any questions, please contact Delphine Figueras at 323-969-4333 or email delphine@theasc.com.

20 2018 Apr

Blue Collar Post Collective Expands to London

In its first international expansion, BCPC will hold regular monthly meet-ups and on-the-ground activities in the U.K.

 

London committee member Peter Amies, board member Janis Vogel, Pena, and Fever in London in AugustThe Blue Collar Post Collective (BCPC) today announced the expansion of its on-the-ground activities to London, U.K., taking its signature accessible events and meet-ups to the Soho post production scene. The British edition of BCPC will be helmed by London-based editor Siân Fever.

Fever noted, “There are a number of post-related events and meet-ups here to choose from, but London has never seen anything like the BCPC. By keeping our events free and community-driven, we’re providing the access that underrepresented and underprivileged individuals need to thrive in post production. We listen to what our community wants, and we do that — no membership fees required.”

BCPC London will hold its first official meet-up on 18th April at The Coach and Horses in Soho. The launch of London follows an exploratory event in September 2017 hosted by Fever along with board member Janis Vogel and president Kylee Peña. The event was such a hit that Peña and Fever went to work researching how to continue the success BCPC has seen in the US.

Peña added, “Blue Collar Post Collective is a non-profit with very little overhead run entirely by volunteers. As such, we’re only choosing to expand to places with the demand and leadership to sustain our core values of accessibility and support of emerging talent. Siân and I talked a lot about how to make BCPC work for London — while we wanted to maintain the core, every city’s post scene is different and the organization needs to adapt for cultural differences. I’m thrilled to see her make this a reality in Soho.”

Blue Collar Post Collective is free to join and there is no cost to attend any meet-ups or events. The organization is supported entirely by community and business driven donations, and nearly all revenue goes toward the Professional Development Accessibility Program which sends low-income post production professionals to important educational events to provide equal access to career-changing opportunities. BCPC also holds events such as Post Talks with high level industry VFX editors, colourists, sound designers, picture editors, and producers, special events like Life Skills Field Day, resume and cover letter workshops, and other unique opportunities.

The BCPC London kick-off meet-up will be held 18th April at 6PM at The Coach and Horses (1 Great Marlborough Street). People from all areas of the post production industry, at all levels of experience, are welcome to attend this casual social meet-up.

 

For more information, contact the Blue Collar Post Collective

http://www.bluecollarpostcollective.com/

info@bluecollarpostcollective.com

20 2018 Apr

Hollywood Professional Association Tech Retreat III

With this post, I’ll wrap up my notes on the last day and a half of the Hollywood Professional Association Tech Retreat – a meeting in the desert of some of the top technical and creative talent in the media and entertainment industry.

Thursday morning began with discussions on HDR (High Dynamic Range) and its many implementations. The panel consisted of representatives from consumer electronics manufacturers, studios, broadcasters and technology developers.

Read more at HDVideo Pro

27 2018 Mar

Technicolor PostWorks Helps Send 10 Films to SXSW

NEW YORK — Continuing its support for innovative and emerging filmmakers, Technicolor PostWorks New York provided post-production services for 10 films screening at this month’s SXSW Film Festival in Austin, Texas. The films span narrative, documentary and animation categories and include five world premieres.

Technicolor PostWorks projects include:

SXSW2018_01
First Match
(Narrative Feature Competition/World Premiere). Director/Screenwriter Olivia Newman’s story of a teenage girl from Brooklyn’s Brownsville neighborhood who wrestles boys as her only way back to her estranged father.

PostWorks provided sound editorial, sound mixing and ADR services; Marlena Grzaslewicz, Supervising Sound Editor; Ruy Garcia, Re-recording Mixer; Chris White, ADR Recordist; Christine Andrews, Sound Project Manager.

A Quiet Place (Headliners/World Premiere). Director John Krasinski’s supernatural horror film about a family that lives in utter silence for fear of an unknown threat that follows and attacks at any sound.

Technicolor PostWorks provided dailies services; John Vladic, Dailies Colorist; Michelle Morris, Dailies Project Manager.

SXSW2018_02

The Legacy of a Whitetail Deer Hunter (Narrative Spotlight/World Premiere). Director Jody Hill’s tale of hunter Buck Ferguson and his trusted cameraman who set out for an epic weekend adventure to reconnect with Buck’s young son.

Technicolor PostWorks provided dailies, facility rental, editorial conforming, color grading and deliverables services; Jack Lewars, Colorist; Josh Olive, Dailies Colorist; Jeff Cornell, Online Editor; Peter Boychuk, Digital Intermediate Producer.

The Dawn Wall (Documentary Spotlight/North American Premiere). Directors Josh Lowell and Peter Mortimer follow legendary free climber Tommy Caldwell as he tries to get over heartbreak by scaling the impossible rock face, the Dawn Wall of El Capitan.

Technicolor PostWorks provided editorial conforming, color grading and deliverables services; Keith Jenson, Colorist and Finishing Editor; Brian Woos, Assistant Editor; Dylan Puchala, Digital Intermediate Producer. PostWorks provided sound mixing services; Eliott Taylor, Re-recording Mixer; Christine Andrews, Sound Project Manager.

SXSW2018_03

Elvis Presley: The Searcher (Films 1 and 2) (24 Beats Per Second/World Premiere). Director Thom Zimny’s two-part documentary focuses on Elvis Presley as a musical artist.

Technicolor PostWorks provided editorial conforming, color grading and deliverables services; Jack Lewars, Colorist; Jeff Cornell, Online Editor; Joey Handy, Digital Intermediate Producer.

Rapture (24 Beats Per Second/World Premiere). Directors Sacha Jenkins, Ben Selkow, Geeta Gandbhir, Steven Caple Jr., Marcus A. Clarke and Gabriel Noble showcase the definitive impact of hip hop on global culture.

Technicolor PostWorks provided editorial conforming, color grading and deliverables services; Anthony Raffaele, Colorist; George Bunce, Online Editor; Michelle Morris, Digital Intermediate Producer. PostWorks provided sound editorial and sound mixing services; Christopher Koch, CAS, Supervising Sound Editor/Re-recording Mixer; Kahlin Whatley, Sound Design; Bryn Neuenschwander Sound Project Manager.

SXSW2018_04

Eighth Grade (Festival Favorites). Director/Screenwriter Bo Burnham tells the story of 13-year-old Kayla who endures the tidal wave of contemporary suburban adolescence as she makes her way through the last week of middle school.

Technicolor PostWorks provided dailies, editorial conforming, color grading and deliverables services; Jack Lewars, Colorist; Josh Olive, Dailies Colorist; Jeff Cornell and Ryan McMahon, Online Editors; Andrew McKay, Digital Intermediate Producer. 

First Reformed (Festival Favorites). Director/Screenwriter Paul Schrader’s film centers on the pastor of a small New England church, who spirals out of control after a soul-shaking encounter with an unstable environmental activist and his pregnant wife.

PostWorks provided sound editorial, sound mixing and ADR services; Michael McMenomy, Supervising Sound Editor; Ruy Garcia, Sound Designer/Re-recording Mixer; Martin Czembor, Re-recording Mixer; Allen Lau, Assistant Sound Editor; Chris White, ADR Recordist; Christine Andrews, Sound Project Manager.

SXSW2018_05

Sorry to Bother You (Festival Favorites). Director/Screenwriter Boots Riley presents an alternate present-day version of Oakland, where telemarketer Cassius Green discovers a magical key to professional success that propels him into a macabre universe.

PostWorks provided sound editorial services; Ruy Garcia and Michael McMenomy, Supervising Sound Editors; Angela Organ, ADR Editor; Lidia Tamplenizza, Dialogue Editor; Allen Lau, Assistant Sound Editor; Christine Andrews, Sound Project Manager.

The Shivering Truth (Animated Shorts). Directors Vernon Chatman and Cat Solen explore an omnibus of painfully riotous day-mares dripping with dream logic, lovingly animated in stop-motion.

PostWorks provided sound editorial and sound mixing services; Paul Furedi, Dialogue Editor/Re-recording Mixer; Kahlin Whatley, SFX Editor; Chris White, Additional Voice Recordist; Christine Andrews, Sound Project Manager.

 

About Technicolor PostWorks New York

Technicolor PostWorks New York is the East Coast’s most comprehensive digital motion picture and post-production facility, employing an exceptional team of creative artists, engineers and project managers to serve our clients through the film and TV finishing process.

Technicolor PostWorks New York offers one complete source for every post requirement, including in-context digital dailies, film imaging and restoration, collaborative non-linear editorial and HD/UHD broadcast finishing, 4K digital cinema, global content lifecycle support, and comprehensive film and TV sound services on nine mix stages.

For more information, visit http://www.technicolorpwny.com

26 2018 Mar

Palm Springs to Soho

By Barbara Lange

As we close the books on a stellar 2018 HPA Tech Retreat, all I can say is wow, what a week! This year’s HPA Tech Retreat was the largest outing yet for this “must-attend” event. With four and half days of content and an innovation zone with more than 60 leading companies presenting the latest in creative technology, the HPA Tech Retreat lived up to its reputation.

The week kicked off on Monday at TR-X, a fascinating half-day deep dive into Machine Learning and AI that offered all you ever needed to know that you didn’t know you didn’t know. We learned that there’s still a lot to be learned in this growing area of the media business. Tuesday’s SuperSession followed the course of snowflake workflows – yes, it’s still snowing! And once again, Mark Schubin programmed an excellent two and half days of in-depth presentations and panels covering the gamut of issues hitting our industry. One of the highlights for me was watching a virtual film being made right before our very eyes!

Papers of presentations are being made available to conference delegates right now with first-ever videos quickly to follow. We hope you enjoy this benefit of attending the HPA Tech Retreat. Make a note, next year’s Tech Retreat will be a bit earlier than usual, February 11 – 15 at the same elegant JW Marriott in Palm Desert. I look forward to seeing you there!

It’s time now to turn our attention to London, and the third installation of this outstanding HPA event in the UK. Rebranded as HPA Creative Tech UK, this one-day event moves from the Oxford countryside straight to Soho, the heart of UK’s post-production world. This year’s one-day event will be a fresh approach to the established Tech Retreat commitment to superior content. Mark your diaries for Wednesday, June 27.

Creative Tech will take place at the hot Ham Yard Hotel located just off Piccadilly Circus. The facility boasts a fully loaded digital cinema screening room that will accommodate 190, the perfect number to go deep into a few heady topics with an intimate audience.

We’ve upped the ante on the program with live demos. Yes, we’re going to jump into the land of exciting (though unpredictable) demos, including the who, how, and why of hacking; an on-set review demo; and discussions about the future of everything AI. We are still putting the final touches on the program, so things may change. But I do hope you’ll plan on attending.

In addition to an outstanding program, HPA Creative Tech UK is bringing all the Tech Retreat mojo – an Innovation Zone, plenty of networking time to meet, greet and discover new things. The Ham Yard Hotel is a fantastic venue with a cool vibe — quite fitting for our first event in London.

Registration is open now at www.hpaonline.com, with Early Bird pricing in effect through 14 April. If you are interested in sponsoring the event, please contact Joyce Cataldo at jcataldo@hpaonline.com.

Considering the speed at which technology is evolving, it’s exciting to imagine how different the questions and answers will be at HPA Creative Tech UK in a few short months, compared to the Tech Retreat we just left. It’s a thrilling industry we work in, and we’re grateful for the opportunity to connect with all of you throughout the year to follow what’s going on in every corner of it.

See you in London!

26 2018 Mar

Artificial Intelligence: Promise and Peril

By Debra Kaufman

During the HPA Tech Retreat eXtra (TR-X) last month, Phil Lelyveld, program lead for the AR/VR Initiative at the Entertainment Technology Center @ USC, spoke about “Artificial Intelligence: Immersion, Story, Technology and Ethics.” He started by reminding attendees that although the market has divided “virtual reality” and “augmented reality” into two separate verticals, it’s actually a continuum. “The goal is to create objects or experiences indistinguishable from real experiences, which can impact your brain like a real experience,” he says. Researcher Skip Rizzo, director for the Medical Virtual Reality Institute for Creative Technologies, describes all of it as “mental stimuli,” noting that “we already live in a mixed reality world.”

As it advances, this world of mixed reality will also be impacted by social media, world building, crowd-sourcing and data from dozens of Internet of Things devices, from smart watches to smart houses. Then comes artificial intelligence. “AI will shape and filter the information you get through AR or VR, so it can have a huge impact on how you view the world,” he says. Lelyveld showed “Eclipse,” a music video commissioned by Saatchi & Saatchi that was made completely in AI systems. “When it was shown in film festivals, side by side with other music videos created by humans, the audience couldn’t tell the difference,” he reports.

Behind the Scenes on ‘Eclipse’

“AI can out-bet and out-bluff poker players,” Lelyveld says. “It can make decisions based on limited information and it can act unpredictably. Yet we’re putting it in charge of human activities.” Fable Studios, headed by co-founder Edward Saatchi, formerly with Oculus Story Studios, is working on the Lucy Project, attempting to create an interactive and believable character who can “hand you and be handed objects, collaborate to move through the story, remember what you’ve done and fall back to it, be believably interrupted and has a hierarchy of emotional attachments to her objects.” Lucy, says Saatchi, “is the future of AR/VR storytelling.”

Fable Studios’ Wolves in the Walls starring Lucy:

Lelyveld also demonstrated at the HPA Tech Retreat some of the less positive potential of AI, including a synthesized speech by Obama, in which he is lip-synched. Adobe already has a voice synthesis technology – its Project VoCo — that, once it has the profile of someone’s voice, can create a convincing recording of that person saying things he never said. “We live in a post-evidence world,” says Lelyveld, who reports that Facebook can remove or add objects and effects to videos, even live ones. Images of fake celebrities are also surging; he showed those created by Generative Adversarial Networks (GANs).

Synthesizing Obama’s speech:

“We don’t know what is real and what is altered and the line between virtual and real is blended. It’ll take experts to tell the difference. Or maybe even they won’t be able to. Do we have a right to know when voice/sound, image/video or data are altered to change meaning or faked?” Lelyveld asked. “Do we have a right to understand how data and information is filtered and to an audit trail to understand the framework for decisions? This is a huge open question.”

AI isn’t likely to answer those questions, says Lelyveld, because “there is no clear way to communicate how AI reaches a decision or determines a response.” Making that more challenging, scientists are not replicating AI studies; because code and results are not being shared, it’s made it “harder to compare, understand, and improve.” Quoting Will Knight’s article on “The Dark Secret at the Heart of A.I.,” published by the MIT Technology Review, Lelyveld asked, “How well can we get along with machines that are unpredictable and inscrutable?”

All is not lost. The potential dark side of AI hasn’t gone unnoticed by the technology world; MIT, Harvard and LinkedIn co-founder Reid Hoffman have invested $27 million to a fund to analyze the impact and implications of AI. The IEEE has proposed ethical guidelines. Others, such as researchers at Carnegie Mellon and the Alan Turing Institute Data Ethics Panel, continue to study the ethical issues raised by AI.

At a European Union conference on “Preserving Democracy in a Digital Age,” Lelyveld reports he told attendees that, “the purveyors of fake news are innovators.” “The way to counteract their efforts is to out-play them,” he says. “It may make more sense to create a system that identifies, elevates, and rewards a bounded set of data, information, and knowledge that we can verify to be true, reliable, and undistorted, than to try to detect and react to an unbounded flow of false, distorted, and fake content.”

“Technology is considered to be morally neutral,” he adds. “All it takes is one person out of 8 billion to use it for bad and cause great harm. This is not an unforeseen problem. You can bury your head in the sand, or you can start thinking now about how to handle it.”

20 2018 Mar

JTN Music Selects MediaSeal to Protect Sensitive Content

JTN Music, the award-winning music production and editing studio, has become the latest company to adopt Fortium’s MediaSeal encryption-at-rest solution as part of its cybersecurity strategy. The Los Angeles-based company is using MediaSeal to protect sensitive feature film and television content during music editing and other post-production processing.

Founded by music editor, engineer, composer and producer Jason Tregoe Newman, JTN Music provides music services for a wide range of movies and television shows. Some of their current projects include Brooklyn Nine-Nine for Fox, Ozark for Netflix, Superstore for NBC, and The Magicians on Syfy. The company and its staff have won numerous awards for original music and music editing including a 2017 MPSE Golden Reel Award for Mozart in the Jungle, and a 2014 Emmy Award for Cosmos: A Spacetime Odyssey. Most recently, JTN Music won a 2018 MPSE Golden Reel Award for Outstanding Achievement in Sound Editing for Superstore.
MediaSeal will help JTN Music conform to the highest standards for cybersecurity. The software employs encryption-at-rest technology to protect files while they are undergoing post-production processing without affecting normal workflow operations. It also includes sophisticated features for user authentication and generating audit trails.

“Protecting our clients’ valuable assets is our first priority,” says Newman. “MediaSeal ensures that content can only be accessed by authenticated users and it does so in a way that is transparent to the artist.”

MediaSeal is used by hundreds of studios, production companies and post-production facilities worldwide to reduce their exposure to accidental distribution, piracy, cyber theft and other forms of cybercrime. “There are too many points in the workflow where content remains unprotected. Locking the front door while leaving the back door open is a typical scenario in post. The threat of cybercrime is growing and every company is a potential victim,” says Fortium CEO Mathew-Gilliat Smith. “JTN Music is taking a proactive approach to ensure that pre-release content in its care is protected.”

Fortium will demonstrate the latest version of MediaSeal at the Hollywood Professional Association’s 2018 HPA Tech Retreat, February 19-23, in Palm Desert, California. Demonstrations in the Tech Retreat’s Innovation Zone will include Live Folders, a new encryption-on-the fly feature. Additionally, Mathew Gilliat-Smith will lead to Breakfast Roundtable sessions on cybersecurity.

Fortium will also be an exhibitor at NAB Show 2018, April 9-12, in Las Vegas, booth SU10603CM.

20 2018 Mar

Avid Sports Solutions Embraced by Top Collegiate Athletic Programs Across the Country

Avid recently announced that numerous National Collegiate Athletic Association (NCAA) Division 1 schools have invested in Avid’s new generation video servers. Tightly integrated into MediaCentral®, the industry’s most open and efficient platform designed for media, Avid FastServeTM enables the schools to create and manage high-quality content for live broadcasts on national cable network ESPN3, while giving students invaluable, transferrable skills that prepare them for success in their future careers.

The prestigious Department of Media Arts at Avid Learning Partner Middle Tennessee State University is the largest and longest-running program for creative media production in the state. The school’s on-campus production company, Media Arts Productions, produces events and high-quality live sports broadcasts including MTSU football, basketball, volleyball and soccer, which are regularly featured on ESPN3. To help the students quickly produce live content in real-time and meet ESPN3’s rigorous content requirements, the college has deployed FastServe I Ingest, so its dispersed creative teams can access and edit incoming media as it’s being captured—even in demanding UHD resolutions—from anywhere, using any device.

“Adopting FastServe has helped Media Arts Productions’ workflow,” said Eric Lilly, school liaison campus production coordinator for ESPN3. “They were able to dedicate one operator to do specific player highlights and game trend packages. The fact that both sides of those machines were networked meant that the person cutting the packages had access to the replays as he was cutting his packages. Neither operator workflow interfered with the other. Knowing what other schools are using for their replay systems and the limitations they put on their operators, I have to say, the Avid system helped make Media Arts Productions’ workflow more efficient.”

“Avid FastServe is super reliable, super powerful, and super flexible. The speed at which we can do stuff now is at a really professional level,” added Isaac Shaw, MTSU student and lead package editor for Media Arts Productions. “With Avid, we’ve really been able to hone in on and figure out how to tell a story, and we have the flexibility to do so. For my personal development, having that skillset and the ability to make fast decisions and put packages together quickly has made me much more marketable to a potential employer.”

Other schools that have invested in FastServe for ultra-fast production turnaround include University of Hartford, University of Vermont, Binghamton University, Quinnipiac University, and Rider University through Avid’s world-class network of reseller partners, including Key Code Media, Metropolitan Interactive, and HB Communications.

“Through ESPN3, top Division 1 colleges and universities across the country can showcase their schools and athletes on the national stage,” said Alan Hoff, Vice President of Market Solutions, Avid. “Avid’s powerful sports production solutions give them the capabilities required to create high-quality content for ESPN3 at an affordable price, while giving students access to the same industry-standard tools they can expect to use in professional sports media environments.”

The new FastServe family of video servers builds on the rich heritage of Avid’s industry-leading AirSpeed® and PlayMaker™ servers. Its unified modular architecture supports UHD and IP I/O to enable ultra-fast ingest, turnaround, and playout in broadcast, news, sports and other live production environments. Higher channel counts per server result in a lower overall cost-per-channel, and a smaller footprint requires less cooling and power.